7 May 2021, Writing - part xx581 Writing a Novel, Plots and Classics, Harper Lee
Announcement: Delay, my new novels can be seen on the
internet, but my primary publisher has gone out of business—they couldn’t
succeed in the past business and publishing environment. I’ll keep you
informed, but I need a new publisher.
More information can be found at www.ancientlight.com. Check out my novels—I think
you’ll really enjoy them.
Introduction: I wrote the novel Aksinya: Enchantment and the Daemon.
This was my 21st novel and through this blog, I gave you the entire
novel in installments that included commentary on the writing. In the
commentary, in addition to other general information on writing, I explained,
how the novel was constructed, the metaphors and symbols in it, the writing
techniques and tricks I used, and the way I built the scenes. You can look back
through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.
I’m using this novel as an example
of how I produce, market, and eventually (we hope) get a novel published. I’ll
keep you informed along the way.
Today’s Blog: To see the steps in the publication process, visit my
writing websites http://www.sisteroflight.com/.
The four plus one basic rules I
employ when writing:
1. Don’t confuse your readers.
2. Entertain your readers.
3. Ground your readers in the writing.
4. Don’t show (or tell) everything.
4a. Show what can
be seen, heard, felt, smelled, and tasted on the stage of the novel.
5. Immerse yourself in the world of your writing.
These are the steps I use to write a novel including the
five discrete parts of a novel:
1.
Design the initial scene
2. Develop a theme statement (initial setting, protagonist,
protagonist’s helper or antagonist, action statement)
a.
Research as required
b.
Develop the initial setting
c.
Develop the characters
d.
Identify the telic flaw (internal
and external)
3. Write the initial scene (identify the output: implied setting,
implied characters, implied action movement)
4. Write the next scene(s) to the climax (rising action)
5. Write the climax scene
6. Write the falling action scene(s)
7.
Write the dénouement scene
I
finished writing my 29th novel, working title, Detective, potential
title Blue Rose: Enchantment and the Detective. The theme statement is: Lady Azure Rose
Wishart, the Chancellor of the Fae, supernatural detective, and all around
dangerous girl, finds love, solves cases, breaks heads, and plays golf.
Here is the cover proposal for Blue
Rose: Enchantment and the Detective.
|
|
|
Cover
Proposal |
The most important scene in any
novel is the initial scene, but eventually, you have to move to the rising
action. I am continuing to write on my 30th novel, working
title Red Sonja. I finished my 29th novel, working
title Detective. I’m planning to start on number 31, working
title Shifter.
How to begin a novel.
Number one thought, we need an entertaining idea. I usually encapsulate such an idea with a
theme statement. Since I’m writing a new
novel, we need a new theme statement.
Here is an initial cut.
For novel 30: Red
Sonja, a Soviet spy, infiltrates the X-plane programs at Edwards AFB as a test
pilot’s administrative clerk, learns about freedom, and is redeemed.
For novel 31: Deirdre
and Sorcha are redirected to French finishing school where they discover difficult
mysteries, people, and events.
For Novel 32: Shiggy
Tash finds a lost girl in the isolated Scottish safe house her organization
gives her for her latest assignment: Rose Craigie has nothing, is alone, and
needs someone or something to rescue and acknowledge her as a human being.
Here is the
scene development outline:
1. Scene
input (comes from the previous scene output or is an initial scene)
2. Write the
scene setting (place, time, stuff, and characters)
3. Imagine
the output, creative elements, plot, telic flaw resolution (climax) and develop
the tension and release.
4. Write the
scene using the output and creative elements to build the tension.
5. Write the
release
6. Write the
kicker
Today: Why don’t we go back to the basics and just writing a
novel? I can tell you what I do, and
show you how I go about putting a novel together. We can start with developing an idea then
move into the details of the writing.
To start a
novel, I picture an initial scene. I may
start from a protagonist or just launch into mental development of an initial
scene. I get the idea for an initial
scene from all kinds of sources. To help
get the creative juices flowing, let’s look at the initial scene.
1.
Meeting between the protagonist and the antagonist or the
protagonist’s helper
2.
Action point in the plot
3. Buildup to an exciting scene
4.
Indirect introduction of the
protagonist
Ideas. We need
ideas. Ideas allow us to figure out the protagonist
and the telic flaw. Ideas don’t come
fully armed from the mind of Zeus. We
need to cultivate ideas.
1.
Read novels.
2. Fill your mind with good stuff—basically the stuff you want
to write about.
3. Figure out what will build ideas in your mind and what will
kill ideas in your mind.
4. Study.
5. Teach.
6. Make the catharsis.
7.
Write.
The development of ideas is based on study and research, but
it is also based on creativity. Creativity
is the extrapolation of older ideas to form new ones or to present old ideas in
a new form. It is a reflection of
something new created with ties to the history, science, and logic (the
intellect). Creativity requires
consuming, thinking, and producing.
If we have filled our mind with all kinds of information and
ideas, we are ready to become creative.
Creativity means the extrapolation of older ideas to form new ones or to
present old ideas in a new form.
Literally, we are seeing the world in a new way, or actually, we are
seeing some part of the world in a new way.
I’ve worked through creativity and the protagonist. The ultimate point is that if you properly
develop your protagonist, you have created your novel. This moves us on to plots and initial
scenes. As I noted, if you have a
protagonist, you have a novel. The
reason is that a protagonist comes with a telic flaw, and a telic flaw provides
a plot and theme. If you have a
protagonist, that gives you a telic flaw, a plot, and a theme. I will also argue this gives you an initial
scene as well.
So, we worked extensively on the protagonist. I gave you many examples great, bad, and
average. Most of these were from
classics, but I also used my own novels and protagonists as examples. Here’s my plan.
1.
The protagonist comes with a telic
flaw – the telic flaw isn’t necessarily a flaw in the protagonist, but rather a
flaw in the world of the protagonist that only the Romantic protagonist can
resolve.
2.
The telic
flaw determines the plot.
3. The telic flaw determines the theme.
4. The telic flaw and the protagonist determines the initial
scene.
5. The protagonist and the telic flaw determines the initial
setting.
6. Plot examples from great classic plots.
7. Plot examples from mediocre classic plots.
8. Plot examples from my novels.
9. Creativity and the telic flaw and plots.
10.
Writer’s block as a problem of
continuing the plot.
Every great or good protagonist comes with their own telic
flaw. I showed how this worked with my
own writing and novels. Let’s go over it
in terms of the plot.
This is all about the telic flaw. Every protagonist and every novel must come
with a telic flaw. They are the same telic
flaw. That telic flaw can be external,
internal or both.
We found that a self-discovery telic flaw or a personal
success telic flaw can potentially take a generic plot. We should be able to get an idea for the plot
purely from the protagonist, telic flaw and setting. All of these are interlaced and bring us our
plot.
For a great plot, the resolution of the telic flaw has to be
a surprise to the protagonist and to the reader. This is both the measure and the goal. As I noted before, for a great plot, the
author needs to make the telic flaw resolution appear to be impossible, but
then it happens. There is much more to
this.
Here is our list of 112 classics. I told you this is a compilation of lists
from various sources. These are all true
classics in most every genre of literature.
What I’m going to do now is look at the list and evaluate if they include
a Romantic protagonist or a Romantic plot.
Second, I’m going to mark those that are true classic novels with an asterisk.
5 To Kill a Mockingbird - Harper Lee – Not sure if a Romantic protagonist
or Romantic plot.
7 Wuthering Heights - Emily Bronte – No Romantic protagonist or Romantic
plot.
*8 Nineteen Eighty Four - George Orwell – No Romantic protagonist or Romantic
plot.
*41 Animal Farm - George Orwell – No Romantic protagonist or Romantic plot.
*9 We The Living – Ayn Rand –Romantic protagonist but no Romantic plot.
*36 Atlas Shrugged – Ayn Rand – Romantic protagonist and Romantic plot.
*50 The Fountainhead – Ayn Rand – Romantic protagonist and Romantic plot.
*10 Great Expectations - Charles Dickens – No Romantic protagonist or Romantic
plot.
23 Bleak House - Charles Dickens – No Romantic protagonist or Romantic plot.
*32 David Copperfield - Charles Dickens – No Romantic protagonist or Romantic
plot.
*57 A Tale Of Two Cities - Charles Dickens – No Romantic protagonist or
Romantic plot.
*71 Oliver Twist - Charles Dickens – No Romantic protagonist or Romantic
plot.
*81 A Christmas Carol - Charles Dickens – No Romantic protagonist or Romantic
plot.
11 Little Women - Louisa M Alcott – No Romantic protagonist or Romantic
plot.
12 Tess of the D’Urbervilles - Thomas Hardy – No Romantic protagonist or
Romantic plot.
47 Far From The Madding Crowd - Thomas Hardy – No Romantic protagonist or
Romantic plot.
67 Jude the Obscure - Thomas Hardy – No Romantic protagonist or Romantic
plot.
*13 Dune – Frank Herbert –Romantic protagonist and Romantic plot.
15 Rebecca - Daphne Du Maurier – Somewhat Romantic protagonist and
Romantic plot.
*17 The Cadwal Chronicles – Jack Vance – Romantic protagonist and Romantic
plot.
*19 The Green Pearl Novels – Jack Vance –Romantic protagonist and Romantic
plot.
18 Catcher in the Rye - JD Salinger – No Romantic protagonist or Romantic
plot.
20 Middlemarch - George Eliot – No Romantic protagonist or Romantic plot.
21 Gone With The Wind - Margaret Mitchel – No Romantic protagonist or Romantic
plot.
22 The Great Gatsby - F Scott Fitzgerald – No Romantic protagonist or Romantic
plot.
24 War and Peace - Leo Tolstoy – No Romantic protagonist or Romantic plot.
31 Anna Karenina - Leo Tolstoy – No Romantic protagonist or Romantic plot.
*25 Starship Troopers – Robert Heinlein – Romantic protagonist and Romantic
plot.
27 Crime and Punishment - Fyodor Dostoyevsky – No Romantic protagonist or
Romantic plot.
28 Grapes of Wrath - John Steinbeck – No Romantic protagonist or Romantic
plot.
61 Of Mice and Men - John Steinbeck – No Romantic protagonist or Romantic
plot.
*29 Alice in Wonderland - Lewis Carroll – No Romantic protagonist and
somewhat Romantic plot.
*30 The Wind in the Willows - Kenneth Grahame – No Romantic protagonist or
Romantic plot.
*33 Chronicles of Narnia - CS Lewis –Romantic protagonist and Romantic plot.
43 Til We All Have Faces – C.S. Lewis – No Romantic protagonist or Romantic
plot.
*37 The Tale of Genji - Murasaki Shikibu – No Romantic protagonist or Romantic plot.
*38 The House of Seven Gables - Nathaniel Hawthorne – No Romantic protagonist
and somewhat Romantic plot.
*39 The Scarlet Letter - Nathaniel Hawthorne – Somewhat Romantic protagonist
and Romantic plot.
*40 Winnie the Pooh - AA Milne – No Romantic protagonist or Romantic plot.
*42 Dracula – Bram Stoker – No Romantic protagonist and a Romantic plot.
44 Le Morte D'Arthur - Thomas Malory – No Romantic protagonist or Romantic
plot.
45 The Woman in White - Wilkie Collins – No Romantic protagonist and somewhat
Romantic plot.
*63 The Moonstone - Wilkie Collins – No Romantic protagonist or Romantic
plot.
46 Anne of Green Gables - LM Montgomery –Romantic protagonist but no Romantic
plot.
*48 Ivanhoe – Sir Walter Scott –Romantic protagonist and Romantic plot.
49 Lord of the Flies - William Golding – No Romantic protagonist or Romantic
plot.
51 What Katy Did - Sarah Chauncey Woolsey under her pen name Susan Coolidge –
Romantic protagonist and Romantic plot.
*52 A Little Princess - Frances Hodgson Burnett – Somewhat Romantic protagonist
and somewhat Romantic plot.
53 The Secret Garden - Frances Hodgson Burnett – No Romantic protagonist
and somewhat Romantic plot.
*56 Kim - Rudyard Kipling – Romantic protagonist and somewhat Romantic plot.
58 Brave New World - Aldous Huxley – No Romantic protagonist or Romantic
plot.
62 Lolita - Vladimir Nabokov – No Romantic protagonist or Romantic plot.
64 The Maltese Falcon - Dashiell Hammett – Somewhat Romantic protagonist and
somewhat Romantic plot.
*65 Count of Monte Cristo - Alexandre Dumas – Romantic protagonist and
somewhat Romantic plot.
*97 The Three Musketeers - Alexandre Dumas – Romantic protagonist and Romantic
plot.
66 As I Lay Dying - William Faulkner – No Romantic protagonist or Romantic
plot.
*68 Robinson Caruso – Daniel Defoe – No Romantic protagonist or Romantic
plot.
*69 The Red Badge of Courage - Stephen Crane – Somewhat Romantic protagonist
and somewhat Romantic plot.
*70 Moby Dick - Herman Melville – No Romantic protagonist or Romantic plot.
*72 Don Quixote - Miguel De Cervantes – No Romantic protagonist or Romantic
plot.
*73 Heidi – Johanna Spyri – Romantic protagonist and Romantic plot.
*74 Hans Brinker - Mary Mapes Dodge – Romantic protagonist and Romantic
plot.
75Ulysses - James Joyce – No Romantic protagonist or Romantic plot.
77 The Big Sky Country – Arlo Guthrie – Somewhat Romantic protagonist and Romantic
plot.
78 Germinal - Emile Zola – No Romantic protagonist or Romantic plot.
79 Vanity Fair - William Makepeace Thackeray – No Romantic protagonist or
Romantic plot.
*80 The Black Arrow - Robert Louis Stevenson – Romantic protagonist and
Romantic plot.
*82 Treasure Island - Robert Louis Stevenson – Somewhat Romantic protagonist
and Romantic plot.
85 Madame Bovary - Gustave Flaubert – No Romantic protagonist or Romantic
plot.
86 For Whom the Bell Tolls – Ernest Hemmingway – No Romantic protagonist or
Romantic plot.
*87 Tarzan – Edger Rice Burroughs – Romantic protagonist and Romantic plot.
91 Heart of Darkness - Joseph Conrad – Somewhat Romantic protagonist and no
Romantic plot.
92 The Little Prince - Antoine De Saint-Exupery – Somewhat Romantic protagonist
and no Romantic plot.
*93 Huckleberry Fin – Mark Twain – Romantic protagonist and Romantic plot.
94 Watership Down - Richard Adams – Romantic protagonist and Romantic plot.
*95 Gulliver’s Travels - Jonathan Swift – No Romantic protagonist or Romantic
plot.
*96 Matilda – Roald Dahl – Romantic protagonist and Romantic plot.
99 Charlie and the Chocolate Factory - Roald Dahl – Romantic protagonist and Romantic plot.
*100 Les Miserables - Victor Hugo – Romantic
protagonist and Romantic plot.
*101 The Once and Future King – T.H. White – Somewhat Romantic protagonist and
Romantic plot.
*102 The Deerslayer – James Fenimore Cooper – Romantic protagonist and Romantic
plot.
104 Ben Hur – Lew Wallace – Romantic protagonist
and Romantic plot.
105 The Robe – Lloyd C. Douglas – Romantic
protagonist and Romantic plot.
106 The Pilgrim’s Progress – John Bunyan – No Romantic protagonist or Romantic
plot.
*109 The Call of the Wild – Jack London – Romantic protagonist and Romantic plot.
*110 Stand on Zanzibar – John Brunner – No Romantic protagonist or Romantic
plot.
*111 The Shockwave Rider – John Brunner – Romantic protagonist and Romantic plot.
I evaluated the list of plots and categorized them according
to the following scale:
Overall (o) – These are the three overall plots we defined above:
redemption, achievement, and revelation.
Achievement (a) – There are plots that fall under the idea of the
achievement plot.
Quality (q)
– These are plots based on a personal or character quality.
Setting (s)
– These are plots based on a setting.
Item (i)
– These are plots based on an item.
I looked at each novel and pulled out the plot types, the telic flaw,
plotline, and the theme of the novel. I didn’t make a list of the themes,
but we identified the telic flaw as internal and external and by plot
type. This generally gives the plotline.
Overall (o)
1. Redemption (o) – 17i, 7e, 23ei, 8 – 49%
2. Revelation (o) –2e, 64, 1i – 60%
3. Achievement (o) – 16e, 19ei, 4i, 43 – 73%
Achievement (a)
1. Detective or mystery (a) – 56, 1e – 51%
2. Revenge or vengeance (a) –3ie, 3e, 45 – 46%
3. Zero to hero (a) – 29 – 26%
4. Romance (a) –1ie, 41 – 37%
5. Coming of age (a) –1ei, 25 – 23%
6. Progress of technology (a) – 6 – 5%
7. Discovery (a) – 3ie, 57 – 54%
8. Money (a) – 2e, 26 – 25%
9. Spoiled child (a) – 7 – 6%
10. Legal (a) – 5 – 4%
11. Adultery (qa) – 18 – 16%
12. Self-discovery (a) – 3i, 12 – 13%
13. Guilt or Crime (a) – 32 – 29%
14. Proselytizing (a) – 4 – 4%
15. Reason (a) – 10, 1ie – 10%
16. Escape (a) – 1ie, 23 – 21%
17. Knowledge or Skill (a) – 26 – 23%
18. Secrets (a) – 21 – 19%
Quality (q)
1. Messiah (q) – 10 – 9%
2. Adultery (qa) – 18 – 16%
3. Rejected love (rejection) (q) – 1ei, 21 –
20%
4. Miscommunication (q) – 8 – 7%
5. Love triangle (q) – 14 – 12%
6. Betrayal (q) – 1i, 1ie, 46 – 43%
7. Blood will out or fate (q) –1i, 1e, 26 – 25%
8. Psychological (q) –1i, 45 – 41%
9. Magic (q) – 8 – 7%
10. Mistaken identity (q) – 18 – 16%
11. Illness (q) – 1e, 19 – 18%
12. Anti-hero (q) – 6 – 5%
13. Immorality (q) – 3i, 8 – 10%
14. Satire (q) – 10 – 9%
15. Camaraderie (q) – 19 – 17%
16. Curse (q) – 4 – 4%
17. Insanity (q) – 8 – 7%
18. Mentor (q) – 12 – 11%
Setting (s)
1. End of the World (s) – 3 – 3%
2. War (s) – 20 – 18%
3. Anti-war (s) –2 – 2%
4. Travel (s) –1e, 62 – 56%
5. Totalitarian (s) – 1e, 8 – 8%
6. Horror (s) – 15 – 13%
7. Children (s) – 24 – 21%
8. Historical (s) – 19 – 17%
9. School (s) – 11 – 10%
10. Parallel (s) – 4 – 4%
11. Allegory (s) – 10 – 9%
12. Fantasy world (s) – 5 – 4%
13. Prison (s) – 2 – 2%
Item (i)
1. Article (i) – 1e, 46 – 42%
I’d like to willow down the list of classics to some true
entertaining classics. We’ll then look
at these in more details.
Let’s do a little comparison between these classic works and
evaluate them. Here is how we will
evaluate them:
1.
Are they entertaining?
2.
Would you read it again?
3.
How’s the protagonist?
4.
How’s the plot?
5.
How does it relate to actual human
values and life?
6.
Did the author write in a way that
makes this work truly unique?
7.
Is this work important to humanity
and to the future?
Next is Harper Lee. I’m
not necessarily happy to inform you that To Kill a Mockingbird is not
and never will be a classic. To Kill
a Mockingbird is the first and only novel Harper Lee really wrote. This is unusual and peculiar. Authors who write only one novel are rare and
very odd. Why this is really really
really odd is that writing a successful novel requires at least one million
words of fiction writing experience. How
Harper Lee got one million words of experience, no one knows or can tell. Perhaps she leapt fully armed from the mind
of Zeus. I don’t trust any author who
wrote only a single novel and became a prodigy and bestseller. This indicates either someone else wrote the
novel or there was lots of ghost writing going on. Where is the rest of Harper Lee’s
corpus? Every writer has pages and pages
of writing before even beginning to write a novel. Every novel writer I know has written multiple
novels and many shorts as well as essays and papers. I would like to write a Harper Lee is impossible,
but we see a few others like this—we will address them.
Why is To Kill a Mockingbird not a classic. We will evaluate it based on the criteria,
but mainly, To Kill a Mockingbird is like so many period novels with no
legs in any other era. In a time when discrimination
is real and biting, it was important to the people. In the modern era of silly micro-aggressions,
To Kill a Mockingbird is an iconoclast.
Just based on the subject, it will likely face cancel culture at some
point. Is it a good novel? It’s not a bad novel, but the reason for its
popularity is not just the subject.
To Kill a Mockingbird
is a simple read and somewhat entertaining.
It allows a host of do-gooders to read it in an easy setting and have a
feel good experience while the subject of the novel is killed in spite of
justice. Oh well.
5 To Kill a Mockingbird - Harper Lee – Not sure if a Romantic protagonist
or Romantic plot.
To Kill a Mockingbird is
about an attorney, Atticus Finch, who is defending a black man, Tom Robinson,
accused of rape. Not to spoil the novel
for you, but the hero is a white attorney who fails to protect the black man
who is falsely accused of rape. This isn’t
a comedy or even a positive. Atticus
Finch has become a kind of folk hero, but since when is a failed attorney who
can’t defend a falsely accused man. I
don’t care what color the hair, eyes, or skin of the players is, it isn’t a
great story or plot. It is a horrific
tragedy. Let’s apply the criteria.
1.
Are they entertaining?
2.
Would you read it again?
3.
How many movies/plays are there of
the novel?
4.
How’s the protagonist?
5.
How’s the plot?
6.
How does it relate to actual human
values and life?
7.
Did the author write in a way that
makes this work truly unique?
8.
Is this work important to humanity
and to the future?
If you are a masochist, To Kill a Mockingbird, might
be entertaining. The novel is a horrific
tragedy. I never found the novel entertaining,
and I’m not sure how anyone could.
Would I read it again?
Why read an unentertaining novel again?
I don’t need the depression.
Perhaps Scout is a fun character and seeing the world through the eyes
of scout is somewhat entertaining, but the oncoming train wreck that leads to
the death of Tom, is just horrible.
Yes, there are movies and plays, but not many. The reason is that today To Kill a
Mockingbird looks racist and feels racist.
As I noted, when the hero is dead and the attorney defending him fails,
that isn’t great movie or play fare.
The protagonist, Scout, isn’t even part of the events or the
novel. The protagonist is not a
participant, but an onlooker. These
novels exist, like Wuthering Heights, but they aren’t my favorites and
reflect more of an experimental style.
If you write a novel like this, the protagonist onlooker should be in
some way important or critical to the overall novel. The onlooker should be deeply inculcated into
the novel as a protagonist’s helper or other important character. It should not be a child observing their father
as a failure—just say’n.
How’s the plot? Well
it ain’t very Romantic. There is no need
for a Romantic plot because it isn’t a comedy.
It is a tragedy.
In terms of human value and life. To Kill a Mockingbird is like
describing the South before the war. Such a novel might be entertaining, but the
world has moved on from that time and era.
To Kill a Mockingbird describes a time that doesn’t exist in very
negative terms. That’s great, but isn’t
the current world and is a bad prism for today and even then. The tragedy is a tragedy—there is no
uplifting message and no solution for the problems brought up the in the
novel. Most novels like this in the
past, that is more classics like this provide a positive and great message that
shows how the world can improve. For example,
Uncle Tom’s Cabin which is a much more important novel than To Kill a
Mockingbird and is not on the classics list, is a greater novel because it
encouraged both change and showed more accurate history as well as being a
positive comedy and message to the people of the times.
Is it unique in any way?
Kind of yes, kind of no. Few
writers would provide an onlooker viewpoint for the protagonist. This is unusual and a poor writing
style. I don’t advise it. In addition, few would give us a total
tragedy if they expected people to read and affirm the novel. If you remember, readers want heroes—there are
no real heroes in To Kill a Mockingbird.
Is To Kill a Mockingbird important to humanity and
the future. I’d say in some degree. It is a simple novel that kids can read. That might make it more dangerous for humanity. The novel depicts the failure of justice, the
attorney, and society. This might be an important
period message, but it doesn’t stand the test of time.
We’ll look at Emily Bronte next.
In the end, we can figure out what makes a work have a great
plot and theme, and apply this to our writing.
The beginning of creativity is study and effort. We can use this to extrapolate to
creativity. In addition, we need to look
at recording ideas and working with ideas.
More tomorrow.
For more information, you can visit my author site http://www.ldalford.com/, and my individual
novel websites:
http://www.ancientlight.com/
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com
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